1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?” This plays takes place at a sewing factory in East Los Angeles in September, 1987. There are five women (no men) who are the center of the play; Ana, Estela, Carmen, Pancha, and Rosali. Most of the women are recently legalized immigrants except the owner of the sewing factory – Estela. We find out she has a criminal record and is in a bit of a pinch to be able to pay off her debts. 2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play? In my opinion, the intrusion is when Estela tells her workers that she has a criminal record and must finish her dress order for Mrs. Glitz in order to pay off her debts for the crime she committed. From this point on, it is imperative that the women work at a swift pace in order to finish the dresses to help Estela get paid. 3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place? This is the day that Ana tells her story to us about where she started and at the end of the play, we see how much she appreciates what her sister and co-workers are doing to help fight for women. 4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.) We want to know is Estela and her co-workers are able to finish the dress order. Also, we want to know is Estela ends up becoming a legal citizen and if her dream of owning her own boutique ever becomes a reality. However, as this story is told from Ana’s point of view, we also want to know if her dream of becoming a writer and going off to college and “doing something with her life” ever happens. 5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles. Ana wants to leave and go to college at NYU to become an educated writer. She wants to get out and do something with her life and she initially believe that going to college will allow her this opportunity. However, throughout the play, she starts to realize that what her sister and co-workers do is not as simple and unimportant as she originally thought. Her sister Estela, was able to build her own business all before the age of 25. I believe this is where we see a bit of struggle against herself because she was so set in her ways of going to college that she was blinded by what she and her friends were doing that was actually important. She also has a struggle against society which she addresses several times. She hates the way some women are treated and how society illustrates them to be submissive mothers and wives. She believes women need to stand up for what they want. She also has some struggles with the rest of the ladies because she is so much younger than them and believes they act condescending to her and don’t take her seriously. I do not believe we see any struggle against fate or the universe in this play. 6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves. I believe one of the most theatrical moments is when Ana stands up and starts demanding her co-workers start to say no and preaches that women need to stand up for what they want and they shouldn’t have to always do what a man (or society) tells them to do. Additionally, I believe the scene where all the women start undressing and revealing their true bodies to each other is another very theatrical moment. They realize they are fat but beautiful women and start to really embrace their figures. This is a great moment in the play because it shows the reader that everyone is beautiful, no matter how big or small they are. Lastly, I believe when Carmen is under the impression that “La migra” is coming for them, there is a theatrical moment because this brings Estela into a state of panic and she thinks she could really be in trouble and be deported. 7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”) One image is the red dress that Estela makes herself. It symbolizes Estela really embracing her figure and wanting to finally do something for herself and make herself feel good. Another image is the van that keeps coming back around their block. Throughout the play we are led to believe the van is the Immigration Services, but we find out it wasn’t at all and the women were worrying the whole time for no reason. Lastly, Ana’s diary is a huge image. It represents her love for writing and her hopes and dreams of becoming an accomplished writer and attending NYU. 8. Ordinarily, there are many themes in most plays. List the themes in Real Women. Some themes we see in this play are body image, self-confidence, Chicano-American culture, women’s rights, and friendship. 9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why? I think we definitely see how not just Estela, Ana, and Carmen are a family but how all five girls are essentially a “family” in this play. This is another play where “family” is not just portrayed by blood relationships, but also extremely strong friendships. We see how they all work tirelessly together and help each other out, especially at the end when all the women give Estela their checks so she can finally pay off her debts and clear her criminal record at the end of the play. They all understand each other and look out for one another. That is what family does for one another and it is not always just established through kin relationships. 1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?” This plays takes place at a sewing factory in East Los Angeles in September, 1987. There are five women (no men) who are the center of the play; Ana, Estela, Carmen, Pancha, and Rosali. Most of the women are recently legalized immigrants except the owner of the sewing factory – Estela. We find out she has a criminal record and is in a bit of a pinch to be able to pay off her debts. 2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play? In my opinion, the intrusion is when Estela tells her workers that she has a criminal record and must finish her dress order for Mrs. Glitz in order to pay off her debts for the crime she committed. From this point on, it is imperative that the women work at a swift pace in order to finish the dresses to help Estela get paid. 3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place? This is the day that Ana tells her story to us about where she started and at the end of the play, we see how much she appreciates what her sister and co-workers are doing to help fight for women. 4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.) We want to know is Estela and her co-workers are able to finish the dress order. Also, we want to know is Estela ends up becoming a legal citizen and if her dream of owning her own boutique ever becomes a reality. However, as this story is told from Ana’s point of view, we also want to know if her dream of becoming a writer and going off to college and “doing something with her life” ever happens. 5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles. Ana wants to leave and go to college at NYU to become an educated writer. She wants to get out and do something with her life and she initially believe that going to college will allow her this opportunity. However, throughout the play, she starts to realize that what her sister and co-workers do is not as simple and unimportant as she originally thought. Her sister Estela, was able to build her own business all before the age of 25. I believe this is where we see a bit of struggle against herself because she was so set in her ways of going to college that she was blinded by what she and her friends were doing that was actually important. She also has a struggle against society which she addresses several times. She hates the way some women are treated and how society illustrates them to be submissive mothers and wives. She believes women need to stand up for what they want. She also has some struggles with the rest of the ladies because she is so much younger than them and believes they act condescending to her and don’t take her seriously. I do not believe we see any struggle against fate or the universe in this play. 6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves. I believe one of the most theatrical moments is when Ana stands up and starts demanding her co-workers start to say no and preaches that women need to stand up for what they want and they shouldn’t have to always do what a man (or society) tells them to do. Additionally, I believe the scene where all the women start undressing and revealing their true bodies to each other is another very theatrical moment. They realize they are fat but beautiful women and start to really embrace their figures. This is a great moment in the play because it shows the reader that everyone is beautiful, no matter how big or small they are. Lastly, I believe when Carmen is under the impression that “La migra” is coming for them, there is a theatrical moment because this brings Estela into a state of panic and she thinks she could really be in trouble and be deported. 7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”) One image is the red dress that Estela makes herself. It symbolizes Estela really embracing her figure and wanting to finally do something for herself and make herself feel good. Another image is the van that keeps coming back around their block. Throughout the play we are led to believe the van is the Immigration Services, but we find out it wasn’t at all and the women were worrying the whole time for no reason. Lastly, Ana’s diary is a huge image. It represents her love for writing and her hopes and dreams of becoming an accomplished writer and attending NYU. 8. Ordinarily, there are many themes in most plays. List the themes in Real Women. Some themes we see in this play are body image, self-confidence, Chicano-American culture, women’s rights, and friendship. 9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why? I think we definitely see how not just Estela, Ana, and Carmen are a family but how all five girls are essentially a “family” in this play. This is another play where “family” is not just portrayed by blood relationships, but also extremely strong friendships. We see how they all work tirelessly together and help each other out, especially at the end when all the women give Estela their checks so she can finally pay off her debts and clear her criminal record at the end of the play. They all understand each other and look out for one another. That is what family does for one another and it is not always just established through kin relationships.
This plays takes place at a sewing factory in East Los Angeles in September, 1987. There are five women (no men) who are the center of the play; Ana, Estela, Carmen, Pancha, and Rosali. Most of the women are recently legalized immigrants except the owner of the sewing factory – Estela. We find out she has a criminal record and is in a bit of a pinch to be able to pay off her debts.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play?
In my opinion, the intrusion is when Estela tells her workers that she has a criminal record and must finish her dress order for Mrs. Glitz in order to pay off her debts for the crime she committed. From this point on, it is imperative that the women work at a swift pace in order to finish the dresses to help Estela get paid.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place?
This is the day that Ana tells her story to us about where she started and at the end of the play, we see how much she appreciates what her sister and co-workers are doing to help fight for women.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
We want to know is Estela and her co-workers are able to finish the dress order. Also, we want to know is Estela ends up becoming a legal citizen and if her dream of owning her own boutique ever becomes a reality. However, as this story is told from Ana’s point of view, we also want to know if her dream of becoming a writer and going off to college and “doing something with her life” ever happens.
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles.
Ana wants to leave and go to college at NYU to become an educated writer. She wants to get out and do something with her life and she initially believe that going to college will allow her this opportunity. However, throughout the play, she starts to realize that what her sister and co-workers do is not as simple and unimportant as she originally thought. Her sister Estela, was able to build her own business all before the age of 25. I believe this is where we see a bit of struggle against herself because she was so set in her ways of going to college that she was blinded by what she and her friends were doing that was actually important. She also has a struggle against society which she addresses several times. She hates the way some women are treated and how society illustrates them to be submissive mothers and wives. She believes women need to stand up for what they want. She also has some struggles with the rest of the ladies because she is so much younger than them and believes they act condescending to her and don’t take her seriously. I do not believe we see any struggle against fate or the universe in this play.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves.
I believe one of the most theatrical moments is when Ana stands up and starts demanding her co-workers start to say no and preaches that women need to stand up for what they want and they shouldn’t have to always do what a man (or society) tells them to do. Additionally, I believe the scene where all the women start undressing and revealing their true bodies to each other is another very theatrical moment. They realize they are fat but beautiful women and start to really embrace their figures. This is a great moment in the play because it shows the reader that everyone is beautiful, no matter how big or small they are. Lastly, I believe when Carmen is under the impression that “La migra” is coming for them, there is a theatrical moment because this brings Estela into a state of panic and she thinks she could really be in trouble and be deported.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”)
One image is the red dress that Estela makes herself. It symbolizes Estela really embracing her figure and wanting to finally do something for herself and make herself feel good. Another image is the van that keeps coming back around their block. Throughout the play we are led to believe the van is the Immigration Services, but we find out it wasn’t at all and the women were worrying the whole time for no reason. Lastly, Ana’s diary is a huge image. It represents her love for writing and her hopes and dreams of becoming an accomplished writer and attending NYU.
8. Ordinarily, there are many themes in most plays. List the themes in Real Women.
Some themes we see in this play are body image, self-confidence, Chicano-American culture, women’s rights, and friendship.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why?
I think we definitely see how not just Estela, Ana, and Carmen are a family but how all five girls are essentially a “family” in this play. This is another play where “family” is not just portrayed by blood relationships, but also extremely strong friendships. We see how they all work tirelessly together and help each other out, especially at the end when all the women give Estela their checks so she can finally pay off her debts and clear her criminal record at the end of the play. They all understand each other and look out for one another. That is what family does for one another and it is not always just established through kin relationships.
1. In the space below, describe the stasis at the beginning of the play NOT THE FILM of Real Women Have Curves. In other words, “Where are we?” “When is it (time, day, and year)?” “Who are the people involved?” “What is the dramatic situation in which the characters find themselves as the play unfolds?”
This plays takes place at a sewing factory in East Los Angeles in September, 1987. There are five women (no men) who are the center of the play; Ana, Estela, Carmen, Pancha, and Rosali. Most of the women are recently legalized immigrants except the owner of the sewing factory – Estela. We find out she has a criminal record and is in a bit of a pinch to be able to pay off her debts.
2. What is the intrusion that causes the stasis to be broken in the play and the dramatic action to develop, often at an increasingly rapid pace, to the end of the play?
In my opinion, the intrusion is when Estela tells her workers that she has a criminal record and must finish her dress order for Mrs. Glitz in order to pay off her debts for the crime she committed. From this point on, it is imperative that the women work at a swift pace in order to finish the dresses to help Estela get paid.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor which is out of the ordinary that causes a turn of events to take place?
This is the day that Ana tells her story to us about where she started and at the end of the play, we see how much she appreciates what her sister and co-workers are doing to help fight for women.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
We want to know is Estela and her co-workers are able to finish the dress order. Also, we want to know is Estela ends up becoming a legal citizen and if her dream of owning her own boutique ever becomes a reality. However, as this story is told from Ana’s point of view, we also want to know if her dream of becoming a writer and going off to college and “doing something with her life” ever happens.
5. Use Ana, the central character, to answer the questions. Ball says, a character is revealed by what he/she does, that is, the dramatic actions that are taken by that character. Examine what Ana wants (NOTE: In Real Women Ana's wants seem to be in flux. They change as the play progresses). The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles.
Ana wants to leave and go to college at NYU to become an educated writer. She wants to get out and do something with her life and she initially believe that going to college will allow her this opportunity. However, throughout the play, she starts to realize that what her sister and co-workers do is not as simple and unimportant as she originally thought. Her sister Estela, was able to build her own business all before the age of 25. I believe this is where we see a bit of struggle against herself because she was so set in her ways of going to college that she was blinded by what she and her friends were doing that was actually important. She also has a struggle against society which she addresses several times. She hates the way some women are treated and how society illustrates them to be submissive mothers and wives. She believes women need to stand up for what they want. She also has some struggles with the rest of the ladies because she is so much younger than them and believes they act condescending to her and don’t take her seriously. I do not believe we see any struggle against fate or the universe in this play.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Real Women Have Curves.
I believe one of the most theatrical moments is when Ana stands up and starts demanding her co-workers start to say no and preaches that women need to stand up for what they want and they shouldn’t have to always do what a man (or society) tells them to do. Additionally, I believe the scene where all the women start undressing and revealing their true bodies to each other is another very theatrical moment. They realize they are fat but beautiful women and start to really embrace their figures. This is a great moment in the play because it shows the reader that everyone is beautiful, no matter how big or small they are. Lastly, I believe when Carmen is under the impression that “La migra” is coming for them, there is a theatrical moment because this brings Estela into a state of panic and she thinks she could really be in trouble and be deported.
7. Provide at least three examples of images in Real Women. How does the title of the play help us understand the images in the play? (Remember Ball says that, “An image is the use of something we know that tells us something we don’t know.” He goes on to say that images invoke and expand, rather than define and limit.”)
One image is the red dress that Estela makes herself. It symbolizes Estela really embracing her figure and wanting to finally do something for herself and make herself feel good. Another image is the van that keeps coming back around their block. Throughout the play we are led to believe the van is the Immigration Services, but we find out it wasn’t at all and the women were worrying the whole time for no reason. Lastly, Ana’s diary is a huge image. It represents her love for writing and her hopes and dreams of becoming an accomplished writer and attending NYU.
8. Ordinarily, there are many themes in most plays. List the themes in Real Women.
Some themes we see in this play are body image, self-confidence, Chicano-American culture, women’s rights, and friendship.
9. Most American plays have something to do with family and/or family relationships. What does family have to do with the dramatic action in Real Women? Is family redefined in this play? If so, how and why?
I think we definitely see how not just Estela, Ana, and Carmen are a family but how all five girls are essentially a “family” in this play. This is another play where “family” is not just portrayed by blood relationships, but also extremely strong friendships. We see how they all work tirelessly together and help each other out, especially at the end when all the women give Estela their checks so she can finally pay off her debts and clear her criminal record at the end of the play. They all understand each other and look out for one another. That is what family does for one another and it is not always just established through kin relationships.